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Adopt an Artwork from The Adopt an Artwork from the 2020 – 2021 School Year Adopt an Artwork Summary Description This year, we’re reproducing works of art from our collection and putting them “up for adoption” by local schools. For the entirety of the 2020/2021 school year, schools will be able to have their framed work of art on display in the school and will use these works of art as tools for the development of curriculum throughout the year. In conjunction with the adoption, we’re inviting teachers from these schools to attend training sessions where they will learn to create lesson plans related to these objects and aligned to the new Delaware Standards for the Visual and Performing Arts. All hours at the sessions and hours spent working on the lessons will be eligible for clock hours. These lessons will be attributed to the author(s) and integrated into the museum’s online library of resources available to the public and used in the museum’s school tour program. To supplement these lessons, free of charge, the Biggs will offer participating schools either an on-site field trip to the museum or an “at school” field trip led by Biggs staff and volunteers. This program will be run with the support and assistance of the Delaware Department of Education. Outcomes 1. Develop standards aligned, teacher generated lesson plans based on the Biggs Museum’s permanent collection. 2. Provide an opportunity for teachers to integrate new standards into their curriculum. 3. Expose students to object-based learning and create a sense of ownership of the Biggs’ collection. 4. Offer an opportunity for teachers to receive professional development clock hours for re-licensure. 5. Generate sample student artifacts and artist statements for inclusion on the Delaware Department of Education art standards website www.deartsstandards.org. 1 | Adoption 20- 21 Timeline Spring/Summer of 2020 Over three months, the Biggs and the Department of Education will run three, two- hour training sessions for teachers. During these sessions, teachers will receive an orientation to the Biggs’ collection and instructions on planning and implementing the new arts standards into their school and district curriculum. Teachers will receive two clock hours per session, with additional hours granted for work on their lessons. In total, this program has the potential to provide an individual teacher with twelve professional development clock hours. During this time period, the Biggs and the Department of Education will also be encouraging support and commitment from schools to have the reproductions “adopted” for the 2020/2021 school year. Fall 2020 All “adopted” reproductions will be installed in schools. Teachers will continue refining their lesson plans as they pilot them in the classroom. Schools begin on-site or “at school” field trips in the beginning of the 2020-2021 school year. Winter/Spring 2020-2021 Schools continue to participate in field trips and teachers continue to implement their lessons into their curriculum. Early Summer 2021 Participating schools and teachers will be invited to a wrap up session at the Biggs to provide their feedback on the successes and difficulties of the program. Contact: Curator of Community and Academic Programs, Kristen Matulewicz at [email protected] or 302-674-2111 ext. 104 2 | Adoption 20- 21 How to Use this Guide This guide presents all the objects that are proposed for adoption. • Each entry includes a small statement about the piece. • Many entries also include a description of where these objects can be found in our catalogue, which can be copied, borrowed, or purchased from the museum. • A handful of entries also feature a QR code, which can be scanned on a smartphone and will link to a video related to the object. Once you’ve determined which object you would like to adopt, contact the Curator of Community and Academic Programs, Kristen Matulewicz at [email protected] or 302-674-2111 ext. 104 3 | Adoption 20- 21 Tea Table “Big” Tom Burton Long Neck, Sussex County, DE, 1860s-1900 Walnut, Swamp Root According to family tradition, “Big Tom” Burton was an African American sharecropper who worked on the Burton Plantation in southern Sussex County, Delaware. Until the Emancipation Proclamation, the plantation’s owner, Benjamin Burton (dates unknown), was the largest slaveholder in the state. This table, very likely a marriage between an 18th century walnut tabletop and a swamp-root base, is an extremely rare example of a document piece of furniture created by an African American in Delaware. 4 | Adoption 20- 21 The Mistry Rocky Mountains Late 1860s[?] William Louis Sonntag (1822 -1900) Oil on Canvas Biggs Catalogue, Vol. II, no. 290 William Sonntag was born in Pittsburgh, Pennsylvania and moved to Cincinnati, Ohio. He studied at the Cincinnati Academy of Fine Arts and by 1850 established himself as one of the city’s leading landscape artists. He lived in Europe from 1853-1856. Upon returning to the States, Sonntag settled in New York City and began exhibiting at the National Academy of Design, where he was elected a full academician in 1861. The panoramic, detailed treatment off this mountain landscape indicates that Sonntag painted it at the height of his mature style, which was representative of the second generation of the Hudson River School. It is difficult to identify the subject because little is known of his activities in the late 1860’s. The unorthodox diagonal axis of the carefully balanced composition results in a dramatic contrast between the mountainside in the foreground and the misty, mysterious background. The two predatory birds and the mountain lion reinforce the aura of wild, remote nature. 5 | Adoption 20- 21 The Granite Rock, Appledore Childe Hassam (1859–1935) 1908 Biggs Catalogue, Vol. II, no. 354 Childe Hassam was born in Massachusetts, where he began his artistic career as a printmaker and watercolorist. After several trips to study in Paris, the artist began to apply French Impressionism, and later Post-Impressionism, to his depictions of American cities. When he relocated to New York, Hassam spent summers in New England along the coastlines of Massachusetts, New Hampshire, and Maine, as well as in the renowned Impressionist artist colony of Old Lyme, Connecticut. 6 | Adoption 20- 21 Concert at the Pennsylvania Academy of the Fine Arts Alice Barber Stephens (1858–1932) 1891 Oil on Academy Board Biggs Museum Catalogue, Vol. II. 321 Illustrated for “A Quaker City Institution,” Harper’s Weekly 35, no. 1787 (March 21, 1891): 208; Captioned “Thursday Afternoon with the Germania Orchestra at the Pennsylvania Academy of the Fine Arts.” Probably the most prominent of the early American women professional illustrators, Stephens worked for Harper’s and other magazines as well as producing pictures for books, such as the 1900 deluxe edition of Hawthorne’s The Marble Faun, which won her the bronze medal at the Exposition Universelle in Paris. Stephens studied at the Philadelphia College of Design for Women and the Pennsylvania Academy of the Fine Arts, and later instructed the first life class for women. She also studied in Paris in 1886-87. Stephens had contracts with Scribner’s, Harper’s, Ladies’ Home Journal, Life, McCall’s, and Country Gentleman magazines. This picture depicts a midweek afternoon concert. The audience consists of people with the leisure time to attend such an event. While the artist gives some individuality to those depicted in the foreground, they are not so sufficiently differentiated as to be considered portraits. The representation of the architectural space is believable, and the interior of the Academy is readily recognizable. Stephens executed this work in grisaille – black, white, and shades of grey. 7 | Adoption 20- 21 Stretching the White Buffalo Skin Frank E. Schoonover (1877–1972) 1935 Oil on Canvas Illustration for James W. Schultz, “Beaver Woman’s Vision,” American Boy-Youth’s Companion (July 1935); republished in James W. Schultz, The White Buffalo Robe (Boston: Houghton Mifflin, 1936); captioned: “Apsi and I meantime made a frame and stretched the white buffalo skin upon it” daybook number:2082. A contemporary of N. C. Wyeth (1882–1945) and a student of Howard Pyle (1853–1911), Frank Schoonover was among the nation’s most prolific illustration artists. Like Pyle, Schoonover established a studio in Delaware and taught art. Schoonover also followed Pyle’s advice and travelled extensively to record first-hand the subjects of his well-known illustrations of pirates, indigenous populations, and colonial personalities. 8 | Adoption 20- 21 Storm Passing over the Juniata Isaac L. Williams (1817-1895) 1866 Oil on Canvas/Board Biggs Catalogue, Vol. II, no. 281-286 Isaac L. Williams was formally educated in his hometown of Philadelphia, but spent much of his time in Noxontown, Delaware. The artist began his career by studying with John Rowson Smith (1810–1864) and John Neagle (1796–1865), and later instructed art in private institutions, as well as his studio. He was a member of the Artist’s Fund Society—eventually becoming its president—and the Art Union of Philadelphia, exhibiting his works widely in galleries and institutions from Philadelphia. 9 | Adoption 20- 21 Hollyhocks John Ross Key (1832-1920) Oil on Canvas Biggs Catalogue, no. 308 John Ross Key was born in Hagerstown, Maryland and raised by his grandfather, Francis Scott Key, author of the “Star Spangled Banner.” He was a friend and peer of James McNeil Whistler and may have studied at the National Academy of Design. Key largely specialized in landscapes, but in the late 1870s, he spent much of his time focusing on representations of intensely colored flowers. His flower paintings were said to capture “the very soul of the flowers.” 10 | Adoption 20- 21 Pendant Portrait by unknown artist Mount by General James Wolf (1779-1858) Probably Wilmington, first half of the 19th century Silver Partial gift from Col.
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